Catalogue 
of  an  (Jjci^ttftton  of 


il^tti)  an  3[ntnibu(tion  bp 

Carl  Zi^tosm 


ieoierobet;  17  to  J^eceraljer  5, 19i4 


Catalogue 
of  an  (0]c]^(brtfon  of 


Wxtt^  an  Slnti^oDuction  6p 

Carl  Ztgrosser 


5pcc&mcti  liieppd  &  Co* 
4  (ea^^t  39tt)  Street 
j^etD  forfe 

iSotiembet:  17  to  ^tttxvibtt  5, 1914 


MILE  VERHAEREN,  the  great  Bel- 
gian poet,  in  a  very  characteristic 
essay  on  Rembrandt  cries  out  against 
the  modern  tendency  to  emphasize 
minute  research  into  the  life  and  surroundings 
of  an  artist  at  the  expense  of  a  deeper  intuition 
of  his  works.  What  profit  is  there,  he  exclaims, 
in  reciting  every  trivial  detail  of  Rembrandt's 
domestic  life,  in  raking  over  each  sordid  item  of 
his  ever  increasing  financial  difficulties,  in  seek- 
ing to  find  an  outward  stimulus  for  every  im- 
pulse of  joy  and  sorrow  in  his  troubled  career, 
only  to  lose  sight  of  the  marvel  and  magic  of  his 
actual  creation?  Few  men  indeed  do  we  know 
whose  lives  had  less  influence  on  their  works 
than  Rembrandt's,  for  nowhere  can  we  find  the 
source  of  the  wonder-revealing  light  of  his  paint- 
ings, the  secret  of  the  superb  penetration  and 
insight  of  his  works,  in  the  bare  chronicle  of  this 
man's  life — this  man  who  in  the  seclusion  of  his 
domestic  circle  had  no  distractions  from  artistic 
labor  but  still  more  labor.  In  truth,  Rembrandt 
moved  and  worked  in  this  world,  yet  really  lived 
apart  and  beyond  it.  To  look  at  his  paintings  is 
to  visit  a  fairy  land  through  which  flit  princes 
and  princesses  in  gorgeous  raiment,  men  of 
thoughtful  brow  and  noble  mien,  women  of  su- 
perb devotion  and  haunting  character,  epic 
scenes  of  life,  love,  and  death. 

To  enter  into  his  etchings  is  to  get  still  further 
away  from  mere  externals  (partly  because  of  the 
less  sensuous  character  of  the  etching  technique) 
and  to  penetrate  still  more  into  the  core  of  life. 
Here  the  gamut  of  emotional  values  is  sounded 
with  vivid  humanness;  here  character  is  limned 
with  simple  directness  and  with  little  emphasis 
on  outward  trappings.  Here  is  Faustus,  keen, 
daring,  profound  thinker,  gazing  with  rapt 
eagerness  upon  the  disc  of  light  which  may  solve 
the  mystery  of  the  universe ;  here  is  the  Student 
hy  Candlelight,  in  whose  musing  demeanor  we 
may  almost  sense  the  immanence  of  winged 
thought.  Here  is  Jacob  Lamenting  the  Sup- 
posed Death  of  Joseph,  lifting  up  his  hands  with 
3 


a  gesture  of  passionate  horror  and  despair  at  the 
loss  of  his  favorite  son ;  Ahraham  about  to  Sacri- 
fice Isaac,  that  stern,  inflexible  patriarch  who 
would  have  sacrificed  even  his  flesh  and  blood  to 
what  he  considered  his  duty;  The  Return  from 
the  Temple  of  the  eager  child  who  excitedly 
chatters  to  his  parents  of  this  momentous  event 
of  his  life;  The  Descent  from  the  Cross  hy 
Torchlight,  with  its  night  of  desolate  loneliness 
and  its  sense  of  the  world's  utter  indifference. 
Here  is  The  Flight  into  Egypt,  Night  Piece, 
where  the  couple,  overtaken  by  darkness,  are 
trudging  along,  weary  and  footsore,  till  they  find 
safe  harborage  for  the  night;  and  in  delightful 
contrast  to  this  is  The  Rest  during  the  Flight 
into  Egypt,  lightly  etched,  that  exquisite  idyl 
of  joy  and  spring  and  youth,  in  which  the  happy 
motive  of  the  pair  below  is  in  a  sense  reiterated 
in  the  play  of  the  birds  above. 

Thus  passes  scene  after  scene  of  the  biblical 
epic— those  legends  of  the  life  and  heart  of  man 
which  appealed  to  him  not  so  much  in  the  light 
of  revealed  scripture,  as  they  inspired  his  hu- 
manity to  some  of  its  most  beautiful  creations. 
And  then  there  were  living  men  and  women  and 
living  nature  to  kindle  his  imagination.  What 
can  be  more  wonderful  than  the  great  portraits, 
the  penetration  of  the  Clement  de  Jonghe,  the 
geniality  of  the  Liitma,  the  humanity  of  the 
Coppenol,  or  the  frankness  of  the  Portrait  of 
Himself  Drawing;  or  the  great  landscapes,  the 
bright  sunshine  of  The  Three  Cottages,  the 
eloquent  serenity  of  The  Mill,  the  clarity  and 
simplicity  of  the  Six^s  Bridge,  or  the  harmony 
and  balance  of  the  Landscape  with  the  Ruined 
Tower? 

With  this  power  of  transmuting  everything 
about  him  into  veritable  fairy  gold,  it  is  doubt- 
ful whether  Rembrandt  felt  very  much  the  loss 
of  the  curios  and  collections  of  his  earlier  years. 
His  art  was  not  dependent  on  trappings  or 
properties.  Like  Shakespeare  in  his  theatre, 
Rembrandt  in  his  art  dreamed  and  attained  the 
highest  flights  imaginable  to  man,  and  like 
4 


Shakespeare,  too,  even  in  the  greatest  reaches  of 
his  fancy  he  remained  most  innately  and  su- 
premely human.  From  this  point  of  view  how 
significant  is  the  formal  record  of  all  Rem- 
brandt's possessions  at  the  time  of  his  death — 
"alleenlijck  sijne  cleederen  van  linnen  en  wollen 
en  't  schildergereetschap"— ''only  certain  linen 
and  woolen  garments  and  his  painting  materials. ' ' 

Carl  Zigrosser. 


Digitized  by 

the  Internet  Archive 

in  2014 

https://archive.org/details/catalogueofexhibOOremb 


CATALOGUE 


1  Rembrandt  Bareheaded.  (B.  1,H.  33) 

Signed  E.  L.  Done  about  1630.  First  state  of 
two  before  the  edges  of  the  plate  were  trimmed. 
From  the  Gawet,  Boehm,  and  Schroeter  collec- 
tions. 

2  Rembrandt  Bareheaded  looking  over 

his  Shoulder.  (B.  10,H.30) 

Done  in  1630.  Second  state  of  three  before  the 
slant  parallel  lines  which  crossed  the  top  of  the 
head  were  burnished  out.  Duplicate  from  the 
British  Museum. 

3  Rembrandt  in  Cap  and  Scarf.        (B.  17,  H.  108) 

Signed  and  dated  Eemhrandt  f.  1633.  On  paper 
watermarked  with  Head  of  Folly  with  Five 
Points.  From  the  collections  of  E.  Smith,  Sir 
E.  Astley,  Carl  Schloesser,  H.  S.  Theobald,  and 
T.  Eoussel. 

4  The  Same.  (B.  17,  H.  108) 

Another  impression  from  the  Artaria  and  Cheva- 
lier de  Franck  collections. 

5  Rembrandt  and  Saskia.  (B.  19,  H.  144) 

Signed  and  dated  Eemhraridt  f.  1636.  First 
state  of  two  with  the  slipped  curve  above  Sas- 
kia's  eyebrow.  From  the  collections  of  E. 
Schroeter  and  J.  P.  F.  Kalle. 

6  Rembrandt  Drawing.  (B.  22,  H.  229) 

Signed  and  dated  Eemhrandt  f.  1648.  Proof 
with  the  landscape  seen  through  the  window. 
Superb  impression  on  Japan  paper. 

"...  surely  that  window  can  be  no  other  than  a 
window  in  Six's  house,  and  that  Rembrandt  had  found 
refuge  and  solace  at  this  time  with  his  sympathetic  and 
powerful  friend  at  Elsbroeck;   and  that  these  things, 


7 


and  all  these  landscapes — and  possibly  the  Hundred 
Guilder  Print  itself— were  thought  out  and  finished  in 
his  companionship,  and  under  his  sheltering  roof.  If 
so,  what  an  episode  in  the  intellectual  life  of  Six— what 
a  compensation  for  Rembrandt!" 

Seymour  Haden:  Rembrandt. 

"Another  miracle  of  insight  and  of  technique.  Note, 
for  instance,  the  incredibly  delicate  modeling  of  the 
face  by  which  the  tone  of  the  complexion  and  the  keen- 
ness of  the  eyes  is  suggested." 

C.  J,  Holmes:  Notes  on  the  Art  of  Rembrandt. 

7  Rembrandt  with  Fur  Cap  and  Light 

Dress.  (B.  24,  H.  29) 

Signed  and  dated  E.  H.  L.  1630.  From  the  col- 
lections of  Dr.  A.  Straeter  and  Count  Stroganoff. 

"Spirited  work  with  much  more  scientific  modeling. 
Cap,  dress,  and  dark  passages  of  hair  due  to  a  second 
biting  over  a  paler  etching." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

8  Abraham  Entertaining  the  Angels.  (B.  29,  H.  286) 

Signed  and  dated  Bemhrandt  f.  1656.  Only 
state.    Duplicate  from  the  Dresden  Museum. 

"The  composition  was  suggested  by  one  of  Rembrandt's 
drawings  from  Mahommedan-Indian  miniatures  (H.  de 
G.,  926)." 

A.  M.  Hind:  Rembrandt's  Etchings. 

9  Abraham's  Sacrifice.  (B.  35,H.283) 

Signed  and  dated  Bemhrandt  f.  1655.  From  the 
Nahl  collection. 

"By  its  grandeur  and  originality  of  invention  and  com- 
position it  may  well  take  rank  as  one  of  Rembrandt's 
finest  plates.  .  .  .  Independently  of  its  very  fine  com- 
position, and  the  magnificent  style  in  the  drawing  of 
Abraham  and  the  Angel,  this  plate  may  be  easily  recom- 
mended as  a  fine  example  of  the  free  etched  line  which 
is  everywhere  perfectly  frank  and  full  of  vital  energy." 

P.  G.  Hamerton:  Rembrandt. 

10  The  Same.  (B.  35,  H.  283) 

Another  impression. 

11  Jacob's  Ladder.  (B.  36,  3,  H.  284,  B) 

Signed  and  dated  Bemhrandt  f.  1655.  Second 
state  of  four  before  the  horizontal  lines  of  shad- 
ing between  the  rungs  of  the  ladder  above. 

This  and  the  following  subject  were  designed 
for  a  book  in  Spanish,  Piedra  gloriosa  o  de  la 
estatua  de  Nehuchadnesar,  Amsterdam,  1655,  by 
Eembrandt's  friend  Samuel  Manasseh  Ben 
Israel.  Copies  of  the  book  containing  the  orig- 
inal plates  are  excessively  rare. 

8 


David  and  Goliath.  (B.  36,  4,  H.  284,  C) 

Signed  and  dated  EemJjrandt  f.  1655.  Second 
state  of  four  before  the  mountain  was  made  con- 
tinuous. Splendid  impression  with  lower  margin 
intact. 

Jacob  Lamenting  the  Supposed  Death 

of  Joseph.  (B.  38,  H.  104) 

Signed  Bembrandt  van  Bijn  fe.  Done  about 
1633.  First  state  before  the  retouch.  From  the 
Chalon  and  Reiss  collections. 

"Entirely  by  Rembrandt,  but  done  from  memory.  Note 
the  delicate  suggestion  of  landscape  in  the  distance. 
The  near  foliage  is  a  convention  similar  to  that  which 
is  found  in  Rembrandt's  oil  paintings  of  this  time." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

The  Triumph  of  Mordecai.  (B.  40,  H.  172) 

Done  about  1640  or  later.  Only  state. 
"First  dry-point,  then  finished  with  delicate  biting;  then 
strongly  accented  with  dry-point.  A  delightful  illus- 
tration of  the  story.  Note  the  subtlety  with  which  light 
and  shadow  are  interchanged  and  yet  kept  broad,  and 
how  all  the  curves  center  in  Mordecai's  figure." 

C.  J.  Holmes:  Notes  on  the  Art  of  Bembrandt. 

David  at  Prayer.  (B.  41,  H.  258) 

Signed  and  dated  Bembrandt  f.  1652. 

"Such  plates  as  the  David  at  Prayer  will  perhaps  never 
be  popular  except  with  those  who,  like  the  amateurs  of 
Chinese  and  Japanese  art,  are  ready  to  strip  them- 
selves of  the  clogging  idea  that  art  is  imitation  of  life. 
Rembrandt's  changed  outlook  shows  itself  not  only  in 
the  broader  elements  of  design,  but  in  the  handling  of 
separate  figures.  The  naturalistic  treatment  of  form 
was  now  perfectly  at  his  command,  whether  he  drew 
from  the  model  or  from  memory,  yet  he  often  chooses 
to  discard  it  in  favor  of  more  abstract  and  conven- 
tionalized faces  and  figures.  Modern  artists,  such  as 
Legros  and  Strang,  have  followed  in  the  same  track, 
and  it  is  undeniable  that  no  style  can  more  vigorously 
express  the  elemental  emotions  of  humanity." 

A.  M.  Hind:  Rembrandt's  Etchings. 

The  Presentation  in  the  Temple. 

(Small  plate.)  (B.  51,  H.  18) 

Signed  and  dated  B.  L.  1630.  From  the  J.  Ber- 
nard and  Arozarena  collections. 

"The  Presentation  in  the  Temple  is  a  remarkable  at- 
tempt at  obtaining  in  etching  the  richness  of  design 
and  the  delicacy  of  treatment  which  at  this  time  were 
Rembrandt's  ideals  in  painting.  .  .  .  For  the  period 
the  attempt  is  remarkably  successful,  and  this  little 
plate  would  make  an  admirable  beginning  for  a  collec- 
tion of  the  master's  etched  compositions.  The  light  and 
shade  are  broadly  massed,  and  an  effect  of  great  space 
is  obtained  in  a  tiny  compass  by  the  dexterous  recession 
of  the  building  to  the  right  and  left." 

C.  J.  Holmes:  Notes  on  the.  Art  of  Rembrandt. 


9 


17  The  Flight  into  Egypt,  Night  Piece. 

(B.  53,  H.  253) 

Signed  and  dated  Bemlrandt  f.  1651.  First 
state  of  five  with  Joseph's  hand  white.  Beauti- 
ful impression  from  the  Henri  le  See  des  Tour- 
nelles  and  Paul  Mathey  collections. 

18  The  Flight  into  Egypt,  in  the  manner 

of  Elsheimer.  (B.  56,  H.  266) 

Done  about  1653,  Sixth  state  before  the  sky 
was  cleaned  of  corrosions.  From  the  Arozarena 
collection. 

This  copper  had  originally  been  engraved  by  Hercules 
Seghers  with  the  representation  of  Tobit  and  the  Angel. 
Only  two  impressions  are  known  of  the  print  in  this 
state.  The  plate  was  then  taken  by  Rembrandt,  the 
figures  of  Tobit  and  the  Angel  elfaced,  and  the  figures 
of  Joseph  and  the  Virgin  introduced  in  their  places. 
The  trees  at  the  right  and  the  foreground,  as  well  as  the 
figures,  are  Rembrandt's  work.  The  remainder  of  the 
plate  is  substantially  the  way  Hercules  Seghers  left  it. 

19  The  Rest  during  the  Flight  into  Egypt. 

Lightly  etched.  (B.  58,  H.  216) 

Signed  and  dated  Bemhrandt  f.  1645.  Only  state. 
From  the  collections  of  W.  KoUer  and  Count 
Stroganoff.  The  impressions  of  this  charming 
little  print  are  always  very  faint  and  delicate. 

20  The  Return  from  the  Temple.       (B.  60,  H.  278) 

Signed  and  dated  Bemhrandt  f.  1654.  Only 
state. 

"Another  superb  example  of  fusion  and  noble  simplicity 
of  design.  The  dry-point  is  used  less  for  compositional 
accent  than  as  an  enrichment  of  the  general  tone  of 
the  piece." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

21  Christ  Disputing  with  the  Doctors. 

(B.  64,  H.  277) 

Signed  and  dated  Bemhrandt  f.  1654.  First 
state  with  square  corners.  Splendid  impression 
from  the  Chambers  Hall  collection. 
"A  noble  summary  of  Rembrandt's  power  over  draw- 
ing, design,  illumination,  and  insight  into  human  char- 
acter. The  personages  are  differentiated  even  more 
subtly  and  observed  with  even  more  sympathy  than  in 
the  plate  etched  some  two  years  earlier." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

22  The  Same.  (B.  64,  H.  277) 

Another  impression  from  the  Poggi  and  Paul 
Mathey  collections. 

23  Christ  among  the  Doctors.  (B.  65,  H.  257) 

Signed  and  dated  Bemhrandt  f.  1652.  First 
state  before  the  plate  was  disfigured  by  foul  bit- 


10 


ing  at  the  top  and  right.  From  the  collections 
of  J.  P.  F.  Kalle  and  Eudolph  Pelzer. 

"Magnificent:  its  simplicity  should  be  compared  with 
the  studied  arrangement  of  the  1630  plate,  as  its  variety 
of  individual  characterization  may  be  contrasted  with 
the  generalized  types  of  the  earlier  piece.  Cunning, 
pedantry,  stupidity,  senility,  and  fanaticism  have  never 
been  more  concisely  presented." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

24    The  Same.  (B.65,H.  257) 

Another  impression  on  paper  watermarked  with 
Head  of  Folly,  likewise  of  the  first  state. 


25    Christ  Preaching.  (B.  67,  H.  256) 

Done  about  1652.    Only  state. 

"Though  less  important  than  the  Hundred  Guilder 
Print,  the  Christ  Preaching  is  certainly  as  strong  as, 
if  not  stronger  than,  its  great  companion  in  its  draw- 
ing of  human  character.  The  profound  attention  of 
the  assembly,  the  marvelous  expressions  of  their  faces 
as  they  listen  to  the  words  of  Christ,  make  an  impres- 
sion upon  us  that  cannot  be  forgotten,  and  we  are  as 
if  we  ourselves  were  there  listening  to  what  the  great 
Preacher  has  to  say."  Atherton  Curtis. 

"His  drawing  makes  itself  overlooked,  but  overlooks 
nothing.  He  is  excellently  physiognomic.  He  expresses 
and  characterizes  in  their  individuality  traits,  looks, 
attitudes,  and  movements ;  that  is  to  say,  the  normal 
habits  and  passing  accidents  of  life.  His  execution  has 
pr  the  propriety,  the  loftiness,  the  close  tissue,  the  power 

and  concision  natural  to  craftsmen  who  are  past  mas- 
ters in  the  art  of  fine  language." 

Eugene  Fromentin :  Les  Maitres  d' Autrefois. 


26   The  Raising  of  Lazarus.    (Small  plate.) 

(B.  72,  H.  198) 

Signed  and  dated  Eembrandt  f.  1642,  First 
state  of  two  before  the  light  diagonal  shading  on 
the  forehead  of  Lazarus.  From  the  collection  of 
Eudolph  Pelzer. 

"A  definite  landmark  in  Rembrandt's  career;  entirely 
pei'fect  and  successful.  The  figures,  all  done  from 
memory,  are  at  once  complete  in  themselves  and  fused 
in  the  general  scheme.  The  design  is  more  daring  in 
its  conventions  and  omissions  than  any  previous  at- 
tempt. Everywhere  character  is  rendered  without  cari- 
cature, and  set  in  a  delicate  natural  atmosphere.  .  .  . 
That  it  represents  an  advance  upon  the  earlier  treat- 
ment of  the  same  subject  is  clear  enough,  for  the  old 
melodramatic  poses,  the  old  contrast  of  high  light  and 
dark  shadow,  are  gone,  as  well  as  the  old  artificial  feel- 
ing about  the  event  represented.  In  the  earlier  plate 
Rembrandt  could  represent  Christ  only  as  a  mighty 
magician ;  in  this  later  version  he  has  come  to  under- 
stand St.  John's  story  better,  and  recognizes  in  the 
miracle  the  result  of  divine  love  and  sympathy  acting 
through  Him  who  had  no  form  nor  comeliness  among 
the  sons  of  men." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 


11 


27  The  Same.  (B.  72,  H.  198) 

Another  impression,  likewise  of  the  first  state. 

28  Christ  Presented  to  the  People.     (B.  76,H.  271) 

Signed  and  dated  Bemhrandt  f.  1655.  Eighth 
state  of  nine  with  much  burr.  From  the  Vlas- 
satto  collection. 

"Begins  almost  like  a  problem  in  architectural  propor- 
tion. In  the  third  state  the  design  is  concentrated, 
solidified,  and  enriched.  Then  when  the  dry-point 
wears  away,  mystery  and  tragedy  are  suggested  by  the 
gloomy  archways  added  below,  in  the  place  of  the  bril- 
liant group  of  foreground  figures.  .  .  .  The  statue  of 
Justice  in  the  niche  to  the  left  should  be  noticed  as  an 
example  of  Rembrandt's  invention.  It  might  have  been 
designed  by  some  ultra-modern  sculptor  of  to-day,  with 
memories  of  Egypt  and  of  archaic  Greek  work  in  his 
mind." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

29  Descent  from  the  Cross  by  Torchlight. 

(B.  83,  H.  280) 

Signed  and  dated  Bemhrandt  f.  1654.  Only 
state.    Superb  impression  with  wide  margin. 

"Very  grand  in  idea.  Note  especially  the  hand  reaching 
out  from  the  darkness,  and  the  rigid  lines  of  the  empty 
bier.  Yet  the  blackness  of  the  shadows  does  not  blend 
quite  happily  with  the  lighter  portions  of  the  plate,  so 
that  it  has  not  the  unity  of  his  most  perfect  works." 
C,  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

30  The  Same.  (B.83,H.280) 

Another  impression  on  paper  watermarked  with 
the  Fool's  Bauble. 

31  Christ  at  Emmaus.    (The  larger  plate.) 

(B.  87,  H.  282) 

Signed  and  dated  Bemhrandt  f.  1654.  First 
state  of  three  before  the  hat  of  the  figure  to  the 
right  was  defined. 

"A  well-known  masterpiece.  To  the  vibrant  effect  of 
the  intervals  of  white  paper  between  the  bold  black 
lines,  corresponding  to  the  broad  decisive  brush  strokes 
of  Rembrandt's  later  painting,  these  prints  owe  their 
singular  luminous  charm.  It  is  curious  to  note  that 
the  superb  series  of  plates  etched  in  open  line  which 
belong  to  the  year  1654  were  produced  at  the  very 
time  when  Rembrandt's  financial  troubles,  which  re- 
sulted in  bankruptcy  two  years  later,  had  become  most 
acute." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

32  The  Same.  (B.87,H.282) 

Another  impression  of  the  final  state.  From  the 
Earl  of  Aylesford's  collection. 

12 


33    The  Same.  (B.  87,H.  282) 

Another  impression,  likewise  in  the  final  state. 
From  the  collection  of  Paul  Mathey. 


34  Peter  and  John  Healing  the  Cripple 

at  the  Gate  of  the  Temple.  (B.  94,  H.  301) 
Signed  and  dated  Bemhrandt  f.  1659.  Second 
state  of  five  after  the  contour  of  the  cloak  on 
Peter 's  arm  was  rounded  out  and  before  the 
cross  hatching  on  the  left  arch  reached  down  to 
the  capital  of  the  column.  Impression  on  Japan 
paper. 

35  The  Baptism  of  the  Eunuch.  (B.  98,  H.  182) 

Signed  and  dated  Bembrandt  f.  1641.  First 
state  of  two  before  the  shading  on  the  waterfall. 
Splendid  impression.  From  the  collections  of 
Rechberger,  De  Vries,  Webster,  and  M.  J.  Perry 
collections. 

"Pure,  fluent  invention  from  beginning  to  end.  Once 
more  we  see  the  influence  of  Rul)ens  coupled  with 
memories  of  a  former  treatment  of  the  subject  under 
Lastman's  influence,  as  in  the  last  early  picture  from 
which  that  in  the  Oldenberg  Gallery  is  copied,  where 
all  the  elements  of  this  design  except  the  landscape  are 
to  be  found." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

36  Death  of  the  Virgin.  (B.  99,  H.  161) 

Signed  and  dated  Bemhrandt  f.  1639.  Second 
state  before  the  light  vertical  shading  on  the 
foremost  bedpost.  From  the  collection  of  Fritz 
Rumpf. 

"A  brilliant  invention.  The  man  in  a  cape  in  front  is 
possibly  done  from  a  model,  but  the  others  are  drawn 
from  memory.  The  great  difference  from  the  earlier 
plates  lies  in  the  treatment  of  light:  brightness  being  no 
longer  suggested  by  violent  contrasts,  but  by  diffusion. 
The  lightness  of  tone  adds  to  the  impression  of  space. 
To  the  influence  of  Rubens  we  must  add  that  of  Man- 
tegna  (whose  prints  Rembrandt  copied),  notably  in  the 
figure  of  St.  John." 

C.  J.  Holmes:  Notes  on  the  Art  of  Bembrandt. 

37  St.  Jerome  in  an  Italian  Landscape. 

(B.  104,  H.  267) 

Done  about  1653.  Impression  on  paper  water- 
marked with  the  Head  of  Folly  with  five  points. 
"The  landscape,  with  the  buildings,  is  suggested  by 
Titian  or  Campagnola,  and  according  to  Haden,  di- 
rectly copied  from  a  drawing  once  in  Dr.  Wellesley's 
collection.  Rembrandt's  immediate  study  for  this  etch- 
ing (in  reverse  direction)  is  in  the  Kunsthalle,  Ham- 
burg." A.  M.  Hind:  Rembrandt's  Etchings. 
"Rembrandt  a  traite  bien  des  fois  ce  sujet  de  Saint 
Jerome,  mais  jamais  avec  plus  de  grandeur  ni  d'une 
fagon  plus  heureuse."        Charles  Blanc:  Rembrandt. 


13 


38  St.  Francis  Praying.  (B.  107,  H.  292) 

Signed  and  dated  Bemhrandt  f.  1657.  Superb 
impression.    From  the  Alfred  Seymour  collection. 

All  the  grandeur  of  Rembrandt's  last  period  is 
seen  in  this  print. 

39  Medea,  or  The  Marriage  of  Jason  and 

Creusa.  (B.  112,  H.  235) 

Signed  and  dated  Bemhrandt  f.  1648.  Fourth 
state  of  five  before  the  margin  with  verses  was 
cut  away.   From  the  Fritz  Eumpf  collection. 

"The  plate  was  designed  to  illustrate  the  tragedy  of 
Medea  written  by  Rembrandt's  friend  Jan  Six  and 
published  in  Amsterdam  in  1648.  The  book  is  more 
usually  found  without  the  plate,  but  Dr.  Jan  Six  has 
notified  the  existence  of  a  number  of  copies  containing 
the  etching,  as  well  as  some  loose  folded  sheets  (ap- 
parently so  printed  with  the  idea  of  binding  in  the 
book)." 

A.  M.  Hind:  Rembrandt's  Etchings. 

40  The  Pancake  Woman.  (B.  124,  H.  141) 

Signed  and  dated  Bemhrandt  f.  1635.  Second 
state  before  the  reworking  on  the  basket  to  the 
right.    From  the  collection  of  Alfred  Hubert. 

"Good.  The  first  state  is  very  lightly  sketched  in,  color 
and  solidity  being  added  later." 

C,  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

41  The  Same.  (B.  124,  H.  141) 

Another  impression,  also  of  the  second  state. 
"What  an  abundance  of  spirit  and  humor  there  is  in 
the    delightful    picture    of    street   life.    The  Pancake 
Woman!" 

H.  Knackfuss:  Rembrandt. 

42  The  Same.  (B.  124,  H.  141) 

Another  impression,  likewise  of  the  second  state. 
From  the  collections  of  the  Earl  of  Aylesford 
and  Eudolph  Pelzer. 

43  The  Golf  Player.  (B.  125,  H.  272) 

Signed  and  dated  Bemhrandt  f.  1654. 
"The  Golf  Player  is  ...  a  fine  sketch  in  which  every- 
thing is  subordinated  to  the  play  of  reflected  light." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

44  The  Same.  (B.  125,  H.  272) 

Another  impression  from  the  collection  of  Count 
Stroganoff. 

45  The  Jews  in  Synagogue.  (B.  126,  H.  234) 

Signed  and  dated  Bemhrandt  f.  1648.  Splendid 
impression. 

14 


"There  is  virtue  in  limitation  of  interest,  and  it  is  in 
this  respect  that  the  same  style  of  etching  used  in  the 
Hundred  Guilder  Print  succeeds  so  perfectly  in  that 
wonderful  little  piece  of  genre,  The  Jews  in  Syna- 
gogue." 

A.  M.  Hind:  Rembrandt's  Etchings. 

46  The  Draughtsman.  (B.  130,  H.  191) 

Done  about  1641.   First  state  before  the  retouch. 

47  The  Little  Polander.  (B.  140,  H.  138) 

Done  about  1635.  First  state  of  two  with  the 
plate  edges  irregular.  Splendid  proof  with  wide 
margins.   From  the  collection  of  A.  Artaria. 

"Good,  delicate  work,  in  the  manner  of  the  small 
Crucifixion  and  perhaps  of  the  same  date." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

48  Student  by  Candlelight.  (B.  148,  H.  202) 

Done  about  1642.  First  state.  From  the  Aroza- 
rena,  Peoli,  Firmin-Didot,  and  Camesina  collec- 
tions. 

"The  work  and  modeling  throughout  are  good,  though 
very  minute,  infinitely  better  than  any  imitator's.  The 
plate  is  so  marvelously  etched  and  bitten  that  we  seem 
to  see  the  flickering  of  the  candle  flame." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

49  Beggar  Leaning  on  a  Stick.  (B.  162,  H.  15) 

Done  about  1632.  First  state  before  the  edges 
of  the  plate  were  trimmed. 

50  Beggar  Leaning  on  a  Stick.  (B.  163,  H.  9) 

Done  about  1630.  Only  state.  From  the  collec- 
tion of  T  .  Roussel.  Taken  from  the  same  model 
as  Beggar  Warming  his  Hands  at  a  Chafing  Dish 
(B.  173). 

51  Beggars  Conversing.  (B.  164,  H.  7) 

Signed  and  dated  E.  E.  L.  1630.  First  state  be- 
fore the  edges  of  the  plate  were  trimmed.  From 
the  collection  of  P.  Gellatly. 

52  Beggar  Warming  his  Hands  at  a 

Chafing  Dish.  (B.  173,  H.  8) 

Done  about  1630. 

"Skilful  but  careless.  Very  modern  in  its  want  of  per- 
ception of  anything  but  the  external  picturesque,  though 
there  is  some  expressiveness  about  the  head." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt, 

53  Beggar  Seated  on  a  Bank.  (B.  174,  H.  11) 

Signed  and  dated  B.  H,  L.  1630.  First  state 
before  the  edges  of  the  plate  were  trimmed. 
From  the  collections  of  C.  Josi,  E.  Schroeter,  and 
the  Duke  of  Buecleuch. 


15 


54    The  Same.  (B.  174,H.  11) 

Another  impression,  from  the  Theobald  collec- 
tion. 


55  Beggars  at  the  Door  of  a  House.  (B.  176,  H.  233) 

Signed  and  dated  Eembraiidt  /.  1648. 
"This  plate  is,  for  the  matter  of  that,  one  of  the  most 
beautiful  of  all,  and  one  may  say  that  in  it  everjthing 
is  perfect  —  the  technique,  which  is  here  of  a  rare  deli- 
cacy—  the  expression  of  the  figures — their  attitudes — 
and  the  play  of  the  light  which  distinguishes  them  so 
clearly  one  from  the  other.  I  wonder  at  the  art  with 
which  the  engraver  has  left  one  side  of  the  print  com- 
pletely bare  in  order  to  concentrate  the  attention  upon 
his  subject.  Beautiful  things  live  only  by  sacrifices, 
and,  more  than  any  one  else,  Rembrandt  grasped  this 
great  law  of  art."  Charles  Blanc:  Rembrandt. 

"When  Alphonse  Legros  remarked  to  me  that  he  con- 
sidered this  to  be  Rembrandt's  finest  etching,  I  an- 
swered: 'That  is  because  it  is  so  like  one  of  your  own.' 
To  this  he  made  answer:  'You  pay  me  an  immense 
compliment.'  " 

Frederick  Keppel :  The  Golden  Age  of  Engraving. 

56  Woman  with  her  Feet  in  the  Water. 

(B.  200,  H.  298) 

Signed  and  dated  Bemhrandt  f.  1658.  Only 
state.  Proof  on  Japan  paper  from  the  collec- 
tion of  Dr.  A.  Straeter. 

"Another  fine  study  without  dry-point,  more  modem, 
and  perhaps  more  prosaic  in  its  realism  than  B.  199. 
It  anticipates  Courbet  and,  in  a  sense,  Millet  also." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

57  Six's  Bridge.  (B.  208,  H.  209) 

Signed  and  dated  Eemhrandt  f.  1645.  From  the 
collections  of  the  Earl  of  Aylesford  and  another 
not  mentioned  by  Fagan. 

"To  the  same  year — 1645 — belongs  the  well-known 
Six's  Bridge,  a  plate  in  which  the  pure  bitten  line,  with 
no  close  hatching  or  shadow  effect,  is  given  full  play. 
Of  its  kind,  this  is  a  perfect  etching.  Every  one  knows 
the  story  of  its  being  done  while  Six's  servant  went  to 
fetch  the  mustard.  But  there  is  nothing  hasty  or  in- 
complete about  it;  the  masterly  economy  of  lines  is 
perfectly  satisfying  in  its  absolute  directness  and  sira 
plicity.  There  is  great  pleasure  in  contemplating  a 
work  like  this,  so  clean,  so  free  from  any  superfluouss 
element." 

Laurence  Binyon :  Rembrandt's  Landscape  Etchings. 

58  The  Three  Cottages.  (B.  217,  H.  246) 

Signed  and  dated  Bemhrandt  f.  1650.  Superb 
impression  on  paper  watermarked  with  the  Head 
of  Folly.  From  the  Schloesser,  Galichon,  and 
Von  Lanna  collections. 


16 


"In  contrast  with  this  is  another  plate  of  the  previous 
year — The  Three  Cottages — where  the  dry-point  is 
freely  used  to  give  color  and  softness  to  the  thatched 
roofs,  checkered  with  the  shadow  of  an  old  tree.  But 
it  is  the  great  fulness  of  shadow  in  the  noonday,  not 
its  gloom,  which  is  the  motive  of  this  etching." 
Laurence  Binyon :  Rembrandt's  Landscape  Etchings. 

59  Landscape  with  Ruined  Tower  and 

Clear  Foreground.  (B.  223,  H.  244) 

Done  about  1650.  From  the  Alfred  Seymour 
collection. 

"The  print,  which,  for  well-considered  breadth  and 
maintained  unity  of  effect  (not  so  much  for  dainty 
finish),  is  the  'last  word'  of  landscape  art,  the  perfect 
splendid  phrase  which  nothing  can  appropriately  fol- 
low, after  which  there  is,  of  necessity,  declension  —  if 
not  collapse." 

Frederick  Wedmore :  Fine  Prints. 

"In  the  earlier  states  the  cupola  and  the  barns  in 
front  of  it  make  up  so  strong  a  group  that  the  eye  is 
drawn  away  from  the  real  motive  of  the  plate.  By 
suppressing  the  cupola  and  strengthening  the  sky  in  the 
later  states,  Rembrandt  has  concentrated  the  effect  on 
the  dark  landscape  to  the  left,  and  has  improved  the 
result  enormoiisly,  though  sacrificing  an  obvious  rhythm 
of  line  which  the  cupola  emphasized.  A  masterly 
plate." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

60  The  Cottage  with  the  White  Palings. 

(B.  232,  H.  203) 
Signed  aud  dated  Eemhrandt  /.  1642. 

61  The  Mill.  (B.  233,  H.  179) 

Signed  and  dated  Eemhrandt  f.  1641.  Only 
state. 

"A  lesson  in  the  variety  of  linear  methods  which  are 
needed  to  get  richness  and  texture  in  a  simple  sub- 
ject. The  ideal  of  large  spacing  in  landscape  leads 
to  vacuity  and  mannerism  unless  we  keep  in  constant 
touch  with  nature.  Here  great  simplicity  of  design 
is  employed,  so  Rembrandt  calls  in  all  the  resources 
of  his  art  as  a  draughtsman  to  secure  the  texture  and 
details  of  nature  without  belittling  the  broad  general 
scheme  of  the  print." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

62  A  Canal  with  Swans.  (B.  235,  H.  238) 

Signed  and  dated  Bemirandt  f.  1650.  Superb 
impression  on  Japan  paper. 

"Several  of  the  master's  exquisite  etchings  of  landscape 
are  dated  1650  .  .  .  the  little  print,  so  charming  in  its 
simplicity,  of  the  Canal  with  the  Swans." 

Knackfuss:  Rembrandt. 

"In  the  mountainous  landscape  behind,  we  may  still 
trace  the  influence  of  Hercules  Seghers." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 


17 


63    An  Old  Man  with  Divided  Fur  Cap. 

(B.  265,  H.  170) 

Signed  and  dated  Bemhrandt  f.  1640.  First  state 
of  three,  before  the  slipped  stroke  near  the  left 
eye  of  the  sitter.  From  the  Hibbert  and  Theo- 
bald collections.  This  impression  has  most  im- 
usual  breadth  and  brilliancy,  so  that  the  print, 
so  far  as  this  impression  is  concerned,  should 
take  its  place  among  the  great  portraits  by  Rem- 
brandt. 


64    Dr.  Faustus.  (B.  270,  H.  260) 

Done  about  1652.  First  state  of  three  before 
additional  shading  on  the  book  to  the  right. 

"A  superb  example  of  force  concealed  by  delicate 
transitions.  Note  how  Faustus'  white  cap  makes  his 
figure  tell  in  spite  of  large  lights  elsewhere,  and  yet 
is  connected  with  the  background  by  the  shadow  in 
its  folds.  Also  how  the  papers  hanging  against  the 
window  break  its  regular  outline,  and  carry  diffused 
light  into  the  room.  Note,  too,  how  the  breadth  of  the 
lighting  is  increased  and  attention  concentrated  on 
Faustus  by  the  open  handling  of  the  objects  in  the 
immediate  foreground.  Altogether  the  plate  is  one  of 
the  most  perfect  of  Rembrandt's  etched  inventions." 
C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

"The  whole  of  Rembrandt  is  in  his  engravings — his 
mind,  tendencies,  imagination,  reverie,  good  sense, 
chimeras,  difficulties  of  rendering  the  impossible,  real- 
ities in  nothingness.  It  is  the  same  craftsmanship,  the 
same  set  purpose,  the  same  carelessness  and  insistence, 
the  same  strangeness  of  style,  the  same  desperate  and 
sudden  success  achieved  by  expression." 

Eugene  Fromentin:  Les  Maitres  d' Autrefois. 


65  Clement  de  Jonghe.  (B.  272,  H.  251) 

Signed  and  dated  Bemhrandt  f.  1651.  Third 
state  before  additional  shading  below  the  arch. 
Beautiful  impression  from  the  Artaria  collection. 

"As  to  the  portrait  of  Clement  de  Jonghe  which  Rem- 
brandt etched,  one  has  no  need  to  remark  how  fortu- 
nate is  the  arrangement  or  how  beautiful  the  effect, 
how  imposing  the  pensive  expression  of  this  personage, 
whom  one  would  so  little  suspect  of  being  a  merchant 
occupied  with  the  prosaic  details  of  his  business,  and  to 
whom  Rembrandt — who  always  idealized  nature  ac- 
cording to  his  own  ideas— has  been  able  to  give,  as  in 
the  case  of  the  Young  Haaring,  an  air  of  reverie  so 
profound  and  the  austere  melancholy  of  a  philosopher 
in  meditation." 

Charles  Blanc:  Rembrandt. 

66  The  Same.  (B.  272,  H.  251) 

Another  impression.  Fifth  state  before  rework 
on  hat,  and  chair  below  upper  bar.  From  an 
unidentified  collection. 


18 


"In  the  first  four  states  we  can  watch  the  sitter  gradu- 
ally growing  in  reality  and  solidity  without  losing 
anything  of  his  ghostly  and  sinister  look.  The  lumi- 
nosity of  the  piece  is  enhanced  by  the  repression  of 
local  color,  so  that  the  total  effect  is  almost  that  of 
monochrome.  Room  is  thus  left  for  the  display  of 
those  subtleties  of  modeling  on  which  its  impressiveness 
depends." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

67  Jan  Lutma.  (B.  276,  H.  290) 

Signed  and  dated  Eemhrandt  f.  1656.  Second 
state  with  the  addition  of  the  window,  but  before 
cross  hatching  in  upper  right  corner.  From  the 
freshness  of  the  burr  all  through  the  plate,  it 
would  seem  that  this  proof  is  an  extremely  early 
impression  just  after  the  window  was  added. 

"Sitting  upright  in  his  arm-chair  with  a  statue  in  his 
hand,  this  artificer  in  gold,  silver,  and  precious  stones 
looks  out  sideways  at  us,  and  instantly  we  recognize,  by 
his  fine  artful  glance,  his  metier.  This  work  is  of  rare 
completion  and  bears  the  same  significance  in  his 
etched  work  that  the  Syndics  of  the  Drapers'  Guild  does 
in  his  painting.  It  sums  up  that  moment  of  the  mas- 
ter's life  when  all  his  powers  were  in  a  sense  so  bal- 
anced that  he  could  add  to  his  immense  strength  a 
suggestion  of  calm  and  reserve  power." 

Emile  Verhaeren:  Rembrandt. 

68  The  Little  Coppenol.  (B.  282,  H.  269) 

Done  about  1653.  Fourth  state  with  triptych. 
It  appears  from  an  epigram  by  H.  F.  Waterloo 
in  the  ' '  Hollantsche  Parnas  door  T.  v.  Dom- 
selaar  verzamelt,  Amsterdam,  1660,"  that  the 
boy  in  the  present  etching  is  Coppenol 's  grand- 
son. 

69  The  Great  Coppenol.  (B.  283,  H.  300) 

Done  about  1658.  Fifth  state  before  the  plate 
was  cut  down. 

70  Portrait  of  a  Boy  in  Profile.        (B.  310,  H.  188) 

Signed  and  dated  Eemhrandt  f.  1641.  Only 
state.    From  the  collection  of  J.  D.  Boehm. 

"A  superbly  delicate  study.  Compare  it  with  Flinck's 
picture  of  William  II  of  Orange." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 

71  Rembrandt  Wearing  a  Toque.       (B.  319,  H.  58) 

Done  about  1631.  From  the  P.  Gellatly  collec- 
tion. 

72  Rembrandt's  Mother  turned  to  the 

Right.  (B.343,H.52) 
Signed  E.  H.  L.  f.  Done  about  1631.  Third 
state  before  the  plate  was  cut  to  an  oval.  From 
the  Gawet,  Boehm,  and  Firmin-Didot  collections. 


19 


"Look  at  Rembrandt's  Mother  turned  to  the  Right- 
was  ever  mother  so  nobly  immortalized  by  the  etching 
needle?  The  tender  protective  spirit  of  all  motherhood 
IS  not  suggested,  perhaps  as  it  is  in  Whistler's  mother 
but  here,  one  feels,  are  just  those  wise  and  beautiful 
qualities  of  reverend  and  experienced  age  that  one  can 
imagine  Rembrandt  wished  to  realize  in  his  mother 
And  how  simple  and  dignified  the  treatment,  with  aU 
the  relative  blacks  of  the  costume!" 

M.  0.  Salaman:  From  Rembrandt  to  WhisUer. 

73    Saskia  with  Headdress  of  Pearls. 

(B.  347,  H.  112) 

Signed  and  dated  Bemhrandt  f.  1634.  Only 
state.  From  the  collections  of  A.  Donnadieu  and 
Henri  le  Sec  des  Tournelles. 

"This  is  one  of  the  most  attractive  of  Rembrandt's 
portraits  of  his  wife  Saskia,  to  whom  he  was  married 
in  June  of  the  same  year." 

A.  M.  Hind:  Rerribrandt' a  Etchings. 


74    Old  Woman  Asleep.  (B.  350,  H.  129) 

Done  about  1635-7.  Only  state.  Splendid  im- 
pression, from  the  collection  of  A.  Firmin-Didot. 

"This  seems  to  have  been  long  a  popular  plate,  as  it 
has  often  been  copied,  once  by  Andrew  Geddes.  I  do 
not  know  any  work  by  the  master  that  contains  as 
much  of  his  human  sympathy  and  such  abundant  evi- 
dence of  observation  on  so  small  a  scale." 

P.  G.  Hamerton:  Rembrandt. 


75    Three  Heads  of  Women,  One  Asleep. 

(B.  368,  H.  152) 

Signed  and  dated  Bemhrandt  f.  1637.  From  the 
Galichon  collection. 

"A  sheet  of  excellent  studies." 

C.  J.  Holmes:  Notes  on  the  Art  of  Rembrandt. 


THE  DEVINNE  PRESS 


